Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Honduras and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
I'm losing my edge to the art-school Jakarta kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Sisters of Mercy to the crunk kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Yellowson. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Roxy Music,
Lebanon Hanover,
Skaos,
Fluxion,
Animal Collective,
Intrusion,
Tim Buckley,
Aural Exciters,
Lungfish,
Eric Copeland,
Camberwell Now,
The Sisters of Mercy,
Quando Quango,
Vladislav Delay,
the Association,
Deutsch Amerikanische Freundschaft,
Ituana,
Los Fastidios,
The Trojans,
John Holt,
Delon & Dalcan,
Hashim,
Matthew Bourne,
T.S.O.L.,
Sun Ra,
Bluetip,
The Remains,
Gastr Del Sol,
Groovy Waters,
Stiv Bators,
Section 25,
Chris & Cosey,
Funkadelic,
Ice-T,
Quadrant,
Stetsasonic,
Radiopuhelimet,
Livin' Joy,
Sarah Menescal,
The West Coast Pop Art Experimental Band,
Charles Mingus,
Public Enemy,
Johnny Osbourne,
Lou Reed & John Cale,
Jeff Lynne,
Excepter,
Crash Course in Science,
Harpers Bizarre,
Eve St. Jones,
James Chance & The Contortions,
Graham Central Station,
In Retrospect,
Easy Going,
Country Teasers,
Curtis Mayfield,
Gil Scott-Heron and Jamie xx,
Lizzy Mercier Descloux,
Rakim,
The Index, The Index, The Index, The Index.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.